जानकी पुल – A Bridge of World's Literature.

जयपुर से प्रेमचंद गाँधी के संपादन मेंकुरजां’ नामक पत्रिका का प्रवेशांक आया है. ये शताब्दी स्मरण अंक है और इसमें हिंदी, उर्दू, अंग्रेजी, गुजराती, तेलुगू साहित्य की विराट परंपरा को आगे बढ़ाने वाले महानायकों को नमन करते हुए न केवल इन भाषाओं के मनीषी साहित्यकारों की रचनाएं जुटायी गयी हैं, बल्कि उन पर दुर्लभ संस्म‍रण और आलेख भी कुरजां के इस अंक में दिये गये हैं। उसी अंक से यह लेख जो भारतीय शास्त्रीय संगीत के पुनरोद्धारक विष्णु नारायण भातखंडे के ऊपर है, जिसे लिखा है विद्वान लेखक प्रियंकर पालीवाल ने- जानकी पुल.


हिंदुस्तानी शास्त्रीय संगीत के संसार में वे ठहराव के दिन थे. संगीत पर अशिक्षित कलाकारों की छोटी-सी मंडली के एकाधिकार और संकीर्ण प्रतिद्वंद्विताओं के दिन. मुसाहिब पेशेवरों की संरक्षा-सुरक्षा के साथ-साथ गोपन घरानेदारी और अवांछित ईर्ष्याओं के दिन. एक ओर सामंती संरक्षण और दूसरी ओर आम जनता की उदासीनता. सरस्वती के निस्वार्थ आराधन के स्थान पर लक्ष्मी के आगे समर्पण के विलासितापूर्ण दिन. इस गिरावट का ही नतीजा था कि दुनिया का कोई और देश, संभवतः, अपने संगीत और संगीतकारों को इतनी हेय दृष्टि से नहीं देखता था जितना यह देश. संगीत की दुनिया में एक विचित्र किस्म की यथास्थिति तारी थी और इस स्थिति से बाहर निकालने का कोई मार्ग नहीं सूझ रहा था. ऐसी परिस्थिति में मुंबई का एक वकील हिंदुस्तानी शास्त्रीय संगीत के उन्नायक के रूप में सामने आया जिसने अपने अथक परिश्रम और अध्यवसाय से हिंदुस्तानी संगीतशास्त्र, संगीत प्रशिक्षण और उसके सामाजिक-सांस्कृतिक परिदृश्य को हमेशा के लिये बदल दिया. पंडित विष्णु नारायण भातखंडे (10 अगस्त 1860 19 सितंबर 1936) निस्संदेह हिंदुस्तानी शास्त्रीय संगीत के सबसे बड़े आधुनिक आचार्य थे. पूरी तरह से नि: स्वार्थ और समर्पित संगीत साधक भातखंडे ने हिंदुस्तानी शास्त्रीय संगीत को वैज्ञानिक पद्धति से व्यवस्थित, वर्गीकृत और मानकीकृत करने का पहला आधुनिक प्रयास किया. न केवल आज के सांगीतिक विमर्श और संगीत-चर्चा की अधिकांश शब्दावली के लिये हम पं. भातखंडे के ऋणी हैं,बल्कि प्रशिक्षण से प्रस्तुति तक प्रचलन के हर क्षेत्र में उनका असंदिग्ध असर दिखाई देता है.
भारतीय इतिहास में वह नवजागरण का समय था . राष्ट्रवाद के उभार का समय.एक महादेश लंबी नींद के बाद अंगड़ाई ले रहा था.जीवन के प्रत्येक क्षेत्र में अभूतपूर्व जागरण और सुधार की सुगबुगाहट सुनाई दे रही थी .पश्चिम के अनुकरण की बजाय वहां के वैज्ञानिक दृष्टिकोण के आलोक में यह परंपरा के पुनर्मूल्यांकन का समय था जिसमें प्रत्येक प्राचीन मान्यता को तर्क की कसौटी पर कसा जा रहा था. श्रेष्ठ और उपयोगी की पुष्टि हो रही थी, कालबाह्य को अस्वीकार किया जा रहा था. नई सच्चाइयों के प्रकाश में यह परम्परा के पुनर्समायोजन का काल था.यह संगीत की राष्ट्रीय परंपरा के निर्माण का भी समय था.पं. विष्णु नारायण भातखंडे और पं. विष्णु दिगंबर पलुस्कर ने अपने-अपने ढंग से हिंदुस्तानी शास्त्रीय संगीत की इस देशज परम्परा को परिष्कृत किया.
एक साधारण मध्यवित्त मराठी चित्तपावन ब्राह्मण परिवार में जन्मे गजानन (तब भातखंडे इसी नाम से जाने जाते थे) ने मां से सुरीली आवाज पाई और पिता से संगीत के पारखी कान.संगीत की शुरुआती शिक्षा उन्हें अपनी धर्मपरायण मां से मिली . वे संत कवियों के पदों को बहुत सुंदर ढंग से गाया करती थीं.तत्पश्चात पं. भातखंडे ने जयराजगीर,रावजीबुआ बेलबागकर,अली हुसैन खां,विलायत हुसैन खां जैसे विख्यात गुरुओं से बांसुरी,सितार और गायन की तालीम ली.बंबई की संगीत संस्था ज्ञान उत्तेजक मंडली से उनका गहरा जुड़ाव था.एल्फिंस्टन कॉलेज,मुंबई और डैकन कॉलेज,पुणे में उच्च शिक्षा प्राप्त कर उन्होंने बंबई हाईकोर्ट( 1887-89 ) तथा कराची हाईकोर्ट( 1889-1910 ) में सफल वकालत की.पर नियति ने उन्हें एक अधिक महत्वपूर्ण कार्य के लिए चुन रखा था.एक ज्यादा चुनौतीपूर्ण और ऐतिहासिक भूमिका के लिए. अपनी अकादमिक शिक्षा के साथ पं. भातखंडे ने लगभग पन्द्रह वर्षों तक विद्वानों और दुभाषियों की मदद से संस्कृत, तमिल, तेलुगु, बांग्ला, उर्दू, जर्मन, ग्रीक और अंग्रेज़ी के सभी उपलब्ध प्राचीन संगीत-ग्रंथों व टीकाओं का अध्ययन किया.
वर्ष 1900 में पत्नी और 1903 में बेटी को खो देने के बाद भातखंडे ने फिर घर नहीं बसाया और अपने को पूरी तरह संगीत के अध्ययन में डुबो लिया.वे बहुत समर्थ और संवेदनशील गायक थे पर अपने पिता को दिये गये वचन को निभाते हुए वे पेशेवर गायक नहीं बने और अपनी समस्त मेधा और ऊर्जा हिंदुस्तानी शास्त्रीय संगीत के अध्ययन और चिंतन में — उसके सूक्ष्म प्रेक्षण,विश्लेषण और संश्लेषण में खपा दी. . धीरे-धीरे उन्होंने अपने को वकालत की जिम्मेदारियों से भी मुक्त करना शुरू कर दिया और 1910 तक आते-आते वकालत पूरी तरह छोड़ दी.अब वे अपने जीवन के सबसे महत्वपूर्ण और महत्वाकांक्षी कार्य में एकनिष्ठ भाव से जुट गए थे. और वह कार्य था हिंदुस्तानी संगीत के शास्त्र को तथा ऐतिहासिक स्रोतों से उसके संबंध को उसकी संपूर्णता में समझना और उस समय प्रचलित कंठ संगीत को घरानों और बंदिशों के आधार पर अधिकतमसंभव पूर्णता के साथ सूचीबद्ध करना. पं. विष्णु नारायण भातखंडे ने बाद का अपना समूचा जीवन सिर्फ़ इसी एक कार्य में लगा दिया. इसके लिए उन्होंने कश्मीर से रामेश्वरम, कलकत्ता से सूरत तथा रामपुर से जयपुर तक भारत के हर उस इलाके की यात्रा की जहां से उन्हें हिंदुस्तानी शास्त्रीय संगीत से जुड़ी सूचना या सामग्री प्राप्त होने की उम्मीद थी.पं. भातखंडे ने न केवल ऐतिहासिक ग्रंथों को खोजा और उनका अध्ययन किया,बल्कि उन ग्रंथों की व्याख्या एवं उसके आधार पर प्रचिलित सांगीतिक कला-रूपों पर उनकी राय को जानने के लिए अन्य विद्वानों और संगीताचार्यों से गहन विचार-विमर्श किया. इन शास्त्रीय ग्रंथों में वर्णित पद्धतियों तथा मौखिक परंपरा से प्राप्त की गई प्रचलित शैलियों के बीच के संबंध को समझने के लिए उन्होंने अपना बेहिसाब समय अपने समय के सर्वश्रेष्ठ गायकों के साथ बिताया. उन गुणी गायकों के संगीत और सांगीतिक ज्ञान तथा किसी विशिष्ट राग या बंदिश की उनकी प्रस्तुति में समानता और भिन्नता के सही बिंदुओं का सूक्ष्म अध्ययन पं. भातखंडे के जीवन का मूल उद्देश्य बन गया था.
हिंदुस्तानी शास्त्रीय संगीत को आधुनिक पद्धति से व्यवस्थित करने के इस कार्य में भातखंडे को अनगिनत कठिनाइयों का सामना पड़ा.सामाजिक और बौद्धिक दिक्कतों के साथ कलाकारों की पेशेवर कठिनाइयों ने इसे अत्यंत दुरूह कार्य बना दिया था . पेशेवर संगीतकार बहुत व्यंग्य से कहते थे अब एक वकील हमें गाने का ढंग और संगीत के कायदे-कानून सिखाएगा. अपने असीम धीरज,प्रभावित करने की क्षमता और व्यवहारकुशलता तथा उद्देश्य की ईमानदारी से भातखंडे ने संदेह के व्यूह को तोड़ा और कई गुणी संगीतकारों का विश्वास जीतने में सफल हुए. उन पर घरानों के संगीत का लुटेरा होने का आरोप लगा रहे संगीतकार ही उनके मित्र और सहयोगी हो गए. ग्वालियर,बड़ौदा और रामपुर जैसे संगीत के केन्द्रों में उन्होंने पर्याप्त समय बिताया. मरहूम वज़ीर खां तथा मरहूम नवाब सादत अली खां से तानसेन के अत्यंत मूल्यवान ध्रुपद संग्रहीत किए.कई अन्य गुणी कलाकारों ने इस कार्य में पंडित भातखंडे की दिल खोल कर मदद की. उस समय के महान गायकों उस्ताद मुहम्मद अली खां,असगर अली खां तथा अहमद अली खां ने पं. भातखंडे को मानरंग घराने की 300 मूल्यवान बंदिशें सदाशयतापूर्वक उपलब्ध करवा दीं.

पं. भातखंडे की निजी डायरी के सैकड़ों पृष्ठों से हमें उनके अत्यंत मितव्ययी और अनुशासित जीवन , शास्त्रीय संगीत के प्रति उनके असाधारण समर्पण और उनकी उच्च सोच की झलक मिलती है. उदाहरण के लिए, अपनी डायरी में उन्होंने स्पष्ट रूप से लिखा है कि यात्रा के दौरान उनका हर दिन पुस्तकालयों और संगीत के निजी संग्रहों में अध्ययन और शोध के लिए समर्पित होगा तथा वे ऐतिहासिक इमारतों आदि को देखने के लिए अथवा मनोरंजन या सामाजिक मेल-मुलाकात के लिए एक दिन भी बर्बाद नहीं करेंगे. पं. भातखंडे की लगभग २००० पृष्ठों की यह डायरी और अन्य दस्तावेज इंदिरा कला संगीत विश्वविद्यालय,खैरागढ़ के अभिलेखागार में संरक्षित हैं. पंडित जी की इन प्रतिज्ञाओं को स्वयं उन्हीं के शब्दों में ही देना उपयुक्त होगा :
१. चूंकि मैं यह यात्रा पूरी तरह संगीत पर शोध के लिए कर रहा हूं मैं अपना समय पुरानी इमारतों और ऐतिहासिक महत्व की जगहों को देखने में नहीं गंवाऊंगा.
२. आतिथ्य और शाम के भोजन आदि के आयोजनों में अपना समय बर्बाद नहीं करूंगा.
३. यदि कोई मुझे किसी प्रतिभाशाली संगीतकार या विद्वान संगीतशास्त्री का नाम और पता सुझाता है तो मैं दूरी की परवाह किये बिना उससे मिलने जाऊंगा,संगीत-चर्चा करूंगा और सूचना एकत्रित करूंगा.
1910 से 1936 के बीच में पंडित जी ने इस एकत्रित अनमोल खजाने को गहन अध्ययन,समीक्षा और शोध के पश्चात संस्कृत, मराठी,हिंदी और अंग्रेज़ी में प्रकाशित करना शुरू किया.इन ग्रंथों में अभिनव रागमंजरी,अभिनव तालमंजरी, लक्ष्यसंगीतम, हिंदुस्तानी संगीत पद्धति (चार भाग),स्वरमालिका तथा गीतमालिका श्रंखला,ग्रंथ संगीतम तथा अ शॉर्ट हिस्टॉरिकल सर्वे ऑव म्यूज़िक,फिलॉसफ़ी ऑव म्यूज़िक आदि प्रमुख हैं. प्रसिद्धि से दूर रहते हुए उन्होंने विष्णु शर्मा और चतुर पंडित के छद्म नामों से भी लिखा. स्वरलिपियों के साथ ध्रुपद, धमार,खयाल,सादरा,तराना,चतुरंग,ठुमरी आदि की सैकड़ों पारंपरिक बंदिशों के साथ उन्होंने चतुर के नाम से अनेक बंदिशों की रचना की जिनमें खयाल और लक्षणगीत(लगभग २५०) प्रमुख हैं.उन्होंने संगीत के ऐसे कई प्राचीन ग्रंथों का भी उद्धार और प्रकाशन किया जिनकी पाण्डुलिपियां उन्हें अपनी देश भर की यात्रा में प्राप्त हुई थीं.
’लक्ष्यसंगीतम’ की रचना उन्होंने संस्कृत में की और इसमें राग की संरचना के संबंध में अपने विचारों को सूत्रबद्ध किया .चार खण्डों में प्रकाशित मराठी ग्रंथ ’हिंदुस्तानी संगीत पद्धति’ पंडित भातखंडे का ’मैग्नम ओपस’ है. गुरु-शिष्य संवाद के रूप में लिखे गए इस ग्रंथ में राग-संगीत के उनके अध्ययन और शोध का विस्तार से वर्णन है.क्रमिक पुस्तक मालिका(छह भाग) देश भर से संग्रहीत पारंपरिक बंदिशों का संचयन है. 1850 से अधिक ये बंदिशें जिनमें उनकी खुद की भी 300 से अधिक बंदिशें शामिल हैं,आज भी देश भर के संगीत संस्थानों के पाठ्यक्रम का हिस्सा हैं.
भातखंडे जी की सर्वाधिक महत्वपूर्ण देन है संगीत के दस थाटों पर प्रचलित रागों के आधार पर खयाल
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385 Comments

  1. Thank u Janki pul for posting such a precious article -indeed very valuable contribution of Pt vishnu Narayan bhatkhande to the INDIAN CLASSICAL MUSIC presented so beautifully by Priyankar Paliwal.The devotion of the Great Masters is very inspiring.

  2. अपने महान पूर्वजों को भूल जाना हमारी आदत रही है. "भातखण्डे" एक ऐसा शब्द है जिसे सुनकर भारतीय शास्त्रीय संगीत के अ, आ,— से भी परिचित कोई व्यक्ति उस महान संगीतज्ञ को ही याद करेगा जिसने इस संगीत परम्परा को एक लिखित आकार देकर आनेवाली पीढी के लिये उसे सुरक्षित कर दिया. साधारण लोगों में शास्त्रीय संगीत के प्रति नष्ट होते रुचि और जानकारी के परिप्रेक्ष्य में पण्डित भातखण्डे की देन और भी सार्थक हो उठती है. भूले हुए लोग जब भी अपनी विरासत को फिर से ढूँढने चलेंगे तो भातखण्डे के महान ग्रंथ उनके लिये दीपक का काम करेंगे. वैसे, लोकप्रीयता के तथाकथित माणदण्डों से अलग भारत के छोटे शहरों और कस्बों में आज भी लाखों संगीत शिक्षार्थी पण्डित भातखण्डे के ग्रंथों से प्रकाशित हैं. आधुनिक भारतीय शास्त्रीय संगीत के इतिहास में इस महान शख्सियत को असीम स्नेह और सम्मान से याद किया जायेगा.

  3. प्रियंकर जी, हिंदुस्तानी संगीत को भातखंडे की देन पर इतना अच्छा लेख लिखने और उस संघर्ष से संलग्नता पूर्वक परिचय करवाने के लिए शुक्रिया…

  4. !वस्तुतः आज देश में (उत्तर भारत में ),जोभी शास्त्रीय संगीत की व्यवस्थित और तथाकथित पारंपरिक शिक्षा का श्रेय जाता है वो वी एन भातखंडे को ही !किसी भी कला की शास्त्रीयता का अर्थ ही उस कला विशेष के व्यवस्थित और विस्तृत वर्णन को प्राप्त करना है !कहा जाता है कि जिस वक़्त हिन्दुस्तानी शाष्त्रीय संगीत सर्वाधिक दयनीय अवस्था में था,और अपनी सांगीतिक परंपरा को गुनिजन मौखिक रूप से सिर्फ अपने वंशजों को ही देते थे !इसे प्राप्त करने के लिए भातखंडे जी को भी काफी अपमानित होना पड़ा ! तब कहते हैं कि उन्होंने ‘’आवश्यकता आविष्कार कि जननी’’ के कथ्य को साकार करते हुए स्वर -चिन्हों व ‘’स्वरलिपि पद्धति’’का आविष्कार किया ,और उसी के आधार पर छिप कर ‘’उस्तादों ’’का गाना सुनकर उसे अपनी ईजाद की गई पद्धति में लिपिबद्ध किया !आज वही पुस्तकें(संगीत क्रमिक मलिका एक से छह तक )हमारे शास्त्रीय संगीत की प्राण वायु हैं !मेरा सौभाग्य है कि उन्ही के द्वारा शुरू किये गए ‘’माधव संगीत महाविद्ध्यालय’’कि नियमित छात्रा के रूप में मैंने स्नातकोत्तर की उपाधि प्राप्त की ! शास्त्रीय संगीत के पुनुरुद्धारक महान संगीतकार श्री विष्णु नारायण भातखंडे को शत शत नमन

  5. भातखंडे के जीवन पर प्रकाश डालता सुन्दर आलेख …बधाई !

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  76. Heya! I just wanted to ask if you ever have any trouble with hackers? My last blog (wordpress) was hacked and I ended up losing months of hard work due to no data backup. Do you have any solutions to protect against hackers?

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  91. My coder is trying to persuade me to move to .net from PHP. I have always disliked the idea because of the expenses. But he’s tryiong none the less. I’ve been using Movable-type on numerous websites for about a year and am worried about switching to another platform. I have heard fantastic things about blogengine.net. Is there a way I can transfer all my wordpress content into it? Any kind of help would be really appreciated!

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  93. Today, I went to the beach with my kids. I found a sea shell and gave it to my 4 year old daughter and said “You can hear the ocean if you put this to your ear.” She put the shell to her ear and screamed. There was a hermit crab inside and it pinched her ear. She never wants to go back! LoL I know this is entirely off topic but I had to tell someone!

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